THE IRON CLAW (2023)

December 20, 2023

Greetings again from the darkness. Tragedy. Destiny. Curse. Those last two may be a matter of perspective or opinion, but without a doubt, that first one fits, and is actually mandatory when discussing the infamous wrestling family known as the Von Erichs. I was fortunate to attend the world premiere of writer-director Sean Durkin’s movie at the historic Texas Theater in the Oak Cliff community of Dallas, Texas. While it’s a movie worth celebrating, it had to be an emotional evening for Kevin Von Erich, who attended with members of his family, as did most of the main cast, the director, and some crew members.

Jack Adkisson took on the professional wrestling name of Fritz Von Erich, and became well known as a German villain within the squared circle. Tragically (there’s that word), five of his six sons preceded him in death (three by suicide). The film’s opening scene shows Fritz (played well by Holt McCallany, “Mindhunters”) using his titular iron claw to win a match. Afterwards, he meets his wife (Maura Tierney) and a couple of their young sons in the car and promises that life will get better once he’s the World Champion. Of course, that day never comes, and having felt he was cheated out of his chance, Fritz uses that chip to raise and train his boys that being the toughest and fastest means nothing can hurt you. How untrue that becomes.

A bulked up and ripped Zac Efron plays Kevin, Jeremy Allen White (“The Bear”, “Shameless”) is Kerry, Harris Dickinson (TRIANGLE OF SADNESS, 2022) is David, and Stanley Simons plays Mike. One brother died at age six from an accident, and filmmaker Durkin chooses to ignore brother Chris in order to keep the focus on the known wrestlers. Kerry was a competitive discus thrower denied a shot at a gold medal when President Carter announced the 1980 Moscow Olympic boycott, and soon after, joined the family business. Mike was the sensitive brother much better suited to pursuing his music than joining his spandex clad brawny brothers in the ring, which he did under duress from dear old dad.

This may appear to be just another sports movie, but I’d argue that it has more in common with FIELD OF DREAMS (1989) as a peek into male sentiment and emotions … this one centered on brotherly love and a desire to please dad. Fritz may now be viewed as a throwback father on a mission of manic masculinity and machismo, but he’s played as a man who believes he is doing right by his family … even though he readily admitted which son was his favorite, and prefacing it with the pecking order can change based on success.

Durkin does show us the progression of wrestling careers, including the ongoing rivalry with wrestling icon Ric Flair, but it’s the personal relationships that matter most here. Lily James (YESTERDAY, 2019) provides a spark of charm and likability as Pam, who ultimately marries Kevin (they have been together since 1980). Classic rock songs fill the soundtrack as the brothers wrestle and wrangle through the 1980’s. All of the actors deliver nice work, though it’s Zak Efron who carries much of the film’s weight, and does so exceedingly well. With MARTHA MARCY MAY MARLENE (2011) and THE NEST (2020), Sean Durkin seems to have an affinity for haunting stories, and proves more than willing here to take head-on the Von Erich curse and corresponding tragedies.

Opens in theaters nationally beginning December 22, 2023

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Posted by David Ferguson

NIGHTMARE ALLEY (2021)

December 17, 2021

Greetings again from the darkness. Fans of filmmaker Guillermo del Toro anxiously await his new projects knowing full well that each will have a stylish atmosphere, a certain fantastical creepiness, and characters a bit outside the norm (whatever normal is these days). Beyond that, the mystique derives from whatever new approach the extraordinarily talented filmmaker will surprise us with this time. For his first follow-up to his Oscar winning THE SHAPE OF WATER (2017), del Toro and co-writer Kim Morgan have adapted the 1947 cult noir classic by director Edmund Goulding (starring Tyrone Power), which itself was adapted from William Lindsay Gresham’s 1946 novel.

Bradley Cooper (an 8 time Oscar nominee) stars as Stan Carlisle in what is a terrific opening sequence. We witness Stan leaving his past in ashes, then catching the bus out of town, until he steps off and follows a dwarf into the heart of a carnival where sideshows and freaks are the attraction. Through this progression, Stan utters nary a word for quite an extended period. Soon enough, Stan has become part of the fabric of the carnival, thanks to Clem Hoatley (Willem Dafoe) giving him a job, and mentalist Zeena (Toni Collette) giving him more than that. Stan is a quick study and takes in Clem’s history of “the geek”, and more importantly, he absorbs all secrets and the code from the telepathy show Zeena and her alcoholic husband Pete (David Strathairn) constructed. They not only pass along their trade secrets, but also a warning to avoid “spook shows”, which involves bringing up the dead for audience members.

Stan takes to the con quite naturally, and soon he is teaming with ‘electric girl’ Molly Cahill (Rooney Mara) to fine-tune their own psychic shows. Their relationship grows and within a few years, the two are performing at swanky hotels for high-society audience. It’s at this point where the movie transitions abruptly from the raunchy carnival setting with tattered tent flaps, floors of hay, and freaks and gadgets, to stunningly sleek Art Deco, fancy dress, and fancier words. One evening, Stan battles wits with an audience member, and his life path is altered again. Dr. Lilith Ritter (Oscar winner Cate Blanchett) is a psychologist who stays a step ahead of Stan, though he never realizes she has drawn him into her scheme, leading him to believe they are working together.

For those who have not seen the 1947 film, you won’t know that the central idea that folks need to believe in something is minimized, while Cooper’s differing approach to the role will not matter. However, for fans of the earlier film, it seems clear his intentions are less sinister, and he merely views his new skill as a path to wealth. Additionally, his aversion to alcohol too obviously foretells a role in his ultimate downfall. Ms. Blanchett relishes her role as a most intelligent noir femme fatale, and at times, simply overpowers Cooper in their scenes … although these scenes are gorgeous. This cast is absurdly talented and deep, and also includes Richard Jenkins, (Oscar winner) Mary Steenburgen, Holt McCallany, Clifton Collins Jr, Tim Blake Nelson, Jim Beaver, Mark Povinelli, Ron Perlman, and Peter MacNeil. Mr. Cooper and Ms. Blanchett are the featured performers, although my preference would have been more Dafoe and Collette.

Perhaps the real stars of the film are the technical team members: Production Designer Tamara Deverell, Art Director Brandt Gordon, Set Director Shane Vileau, and Costume Designer Luis Sequeira. In fact, one of Ms. Blanchett’s dresses is designed cleverly for one scene which reveals something from Lilith’s past. It’s rare for a film to offer two such contrasting and brilliant looks as what we see here with the carnival in the first half, and the Art Deco of the second. Nathan Johnson’s music is a good fit, especially for the first half.

Surprisingly, it seems as filmmaker del Toro has softened the edges of the characters and story for a more accessible film, though it still features less-than-admirable human beings. It lacks the final packaging regarding the reason the pieces are all related, and we never experience the nerve-jarring intensity of a true noir, though that final scene with Cooper and Tim Blake Nelson is stellar. The director seems to love the shadowy look and feel of the carnival and characters, and not so much the glossy bits of the second half. Still, how good is a filmmaker when one that is not his best work, is still at a level many filmmakers can only dream of? The letdown is like the “geek” job … it’s only temporary.

Opening in theaters on December 17, 2021

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Posted by David Ferguson

THE ICE ROAD (2021)

June 24, 2021

Greetings again from the darkness. Somehow, it’s already time for Liam Neeson’s semi-annual macho thriller. In this one, he gets to drive a big rig. Over a frozen river. He also gets to wear flannel, chew on a toothpick, and punch two guys (but no wolves) … all while doing the right thing in order to save some trapped miners. And it’s not about the money. Well, it starts out about the money, but in the end, it’s not about the money!

Neeson stars as Mike, a trucker whose spotty employment record is likely as much his own doing as it is that of his brother John/”Gurtie” (Marcus Thomas), who is not just a super mechanic, but also a war veteran with some mental challenges. The VA hospital quickly diagnoses Gurtie with PTSD and prescribes multiple pills for him. Mike tosses out accusations and the pills, as the two brothers head to Winnipeg for a rescue mission.

Jonathan Hensleigh also wrote and directed the 2011 film KILL THE IRISHMAN which I enjoyed. This time he serves up some nice opening shots that give us a real feel for the isolation and frozen tundra of the setting. When the mine collapses, trapping the workers, the oxygen clock starts, and Goldenrod (Laurence Fishburne) is charged with finding 2 other available and experienced truckers who can drive over the ice road and deliver the necessary equipment within 30 hours. Mike and Gurtie are chosen for one truck, and Tantoo (Amber Midthunder, “Legion”) is chosen for the other. She has extra incentive, as her brother Cody (Martin Sensmeier, WIND RIVER, 2017) is one of the trapped miners.

We do get brief segments with the miners, including Cody and Lampard (Holt McCallany, “Mindhunter”) who are focused on saving as many men as possible. Of course, all of this is the fault of yet another big, bad corporation led by a profit-oriented GM (Matt McCoy, known by “Seinfeld” fans as Lloyd Braun). Along for the ride with the truckers is Varnay (Benjamin Walker, ABRAHAM LINCOLN: VAMPIRE HUNTER, 2016), introduced as an insurance actuarial. And yes, there’s more to his story.

If you’ve ever seen “Ice Road Truckers” on the History Channel, you have some idea what’s about to occur. Thrills, chills, and unforeseen obstacles come at a rapid-fire pace … as if driving 75,000 pounds on 30 inches of slowly melting ice-covered rivers wasn’t enough. This is a wild movie, so expect even more. The bobbleheads on the dash aren’t just good luck charms, and everyone isn’t who they seem. Big companies who cut corners and those who don’t treat vets properly are the targets here, but it’s to be enjoyed as a frigid and perilous rescue mission – and one more chance for Liam Neeson to prove he’s a man’s man.

Available on Netflix beginning June 25, 2021

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Posted by David Ferguson

WRATH OF MAN (2021)

May 6, 2021

Greetings again from the darkness. Cinematic Alert: Guy Ritchie has gone straight! That’s right, the filmmaker we’ve come to bank on for dynamic action, creative editing, and clever, rapid-fire dialogue laced with dark humor and outright hilarious, offbeat moments, has delivered a straightforward, by-the-book revenge-crime thriller. Of course, despite it being about as good as anything else in the genre, we just can’t help but feel a little (and maybe a lot) disappointed that Ritchie has shifted his approach and left us wondering why. After all, he’s the genius behind THE GENTLEMEN (2019), SHERLOCK HOLMES: A GAME OF SHADOWS (2011), and SHERLOCK HOLMES (2009), as well as his brilliant first two films: LOCK, STOCK, AND TWO SMOKING BARRELS (1998) and SNATCH (2000).

The film opens with an armored vehicle heist that ends in gunfire. This heist and the crew of criminals are the key to the story, and Ritchie utilizes his non-linear, multiple perspective story-telling technique to fill in the gaps for us and provide context to everything else that unfolds. Needless to say, there’s more to this heist than what we initially witness. Jumping ahead a few months, the next thing we see is Jason Statham as the mysterious “H” joining Fortico, the cash truck/armored vehicle company victimized in that early sequence. H is clearly wound tightly and not great at making friends … at least until his heroics thwart another attempted robbery and saves the lives of co-workers Bullet (Holt McCallany) and Boy Sweat Dave (Josh Hartnett).

H’s motivation is slowly revealed, as is the fact that he’s not such an outstanding citizen himself. However, it’s clear his mission of revenge is the most important thing in his life, and he’ll stop at nothing to get the person he’s after. His target is part of a criminal team of former military buddies that include Jackson (Jeffrey Donovan), Ian (Scott Eastwood), Brad (Deobia Oparei), and Sam (Raul Castillo), who want nothing more than one huge score so they can walk away and enjoy life. Other key members of Fortico’s staff are played by Niahm Algar, Eddie Marsan, and Rob Delaney. H’s contacts are played by Lyne Renee, Darrell D’Silva, and Andy Garcia, while singer Post Malone (billed as Austin Post) makes an appearance as a robber.

Filmmaker Ritchie is working with many of his regular collaborators. He co-wrote the screenplay with Marn Davies and Ivan Atkinson, and it’s based on the 2004 French movie, LE CONVOYEUR (“Cash Truck”) by Nicolas Boukhrief, Eric Besnard. Others from his usual team include cinematographer Alan Stewart, composer Christopher Benstead, and editor James Herbert. It’s not unusual to find Jason Statham bring his action expertise to a Guy Ritchie crime movie, but Statham really plays it straight here as he sets out to settle a score. The almost non-existent wise-cracking leaves us feeling a bit adrift due to expectations, but the result is a fine, action-packed movie with one excessively long shootout near the end. Ritchie has certainly earned the right to make the movies he wants, but in the words of main character H, “I do bear a grudge.”

Opens in theaters on Friday May 7, 2021

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Posted by David Ferguson

RUN ALL NIGHT (2015)

March 13, 2015

run all night Greetings again from the darkness. Imagine if Liam Neeson’s burned out Air Marshall from Non-Stop was instead a one-time mob hit man who had seen better days. That seems to be the inspiration for director Jaume Collet-Serra’s film (yes, he directed Non-Stop as well). When a guy is a drunken mess with no family who speak to him and only one friend – his old mob boss – a nickname like The Gravedigger tends to conjure better days of yore.

Neeson plays Jimmy Conlon, the has-been hitman whose only remaining friend is boss Shawn Maguire (Ed Harris). These days, Conlon expends more effort emptying a glass than fulfilling a contract.  Shawn respects their history and does all he can to protect his long-time friend who seems intent on boozing himself to death. As is customary in these “crime doesn’t pay” films, things get really messed up in the blink of an eye. Thanks to a wrong place at the wrong time moment, Conlon protects his own son (Joel Kinnaman) by shooting Maguire’s misguided son (Boyd Holbrook). Thus endeth the friendship.

The script is from Brad Ingelsby who wrote the original script for Out of the Furnace (2013), but most of it is pretty predictable. Still, with an excellent cast and some wildly creative camera work from cinematographer Martin Ruhe (Harry Brown, The American), this one offers plenty on the entertainment scale. The restaurant scene where Harris and Neeson face off is alone worth the price of admission.

As you might expect, there is plenty of gun play and swagger, but as the title suggests, mostly it’s a game of running and being chased … featuring a crazy car chase. Neeson has an extended public bathroom fight scene with Holt McCallany, and the detective played by Vincent D’Onofrio continues his decades long pursuit of Neeson’s character. Bruce McGill plays Harris’ right-hand man and Common is a steely new age hit man. Kinnaman’s wife is played by Genesis Rodriguez, and the film’s most bizarre scene features a grizzled Nick Nolte – you will find yourself asking “is that him or not?”

Mr. Collet-Serra has directed Unknown and Non-Stop, so Neeson is quite comfortable working with him, and you should certainly know what to expect going in. The friendship between two mobsters ends the way most do, and it’s another take on the blood family vs mob family loyalties. The Gravedigger may have one foot in his own grave, but he also has enough left for one wild night.

watch the trailer:

 

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Posted by David Ferguson

GANGSTER SQUAD (2013)

January 9, 2013

gangster Greetings again from the darkness. Admittedly, I am one of those who take movies very seriously. Good movies make me happy (even the sad ones), and bad movies make me sulk. Every now and then, one comes along that I find myself enjoying despite the warning buzzers blasting in my film snob brain. Such is the latest from director Ruben Fleisher (who also directed the entertaining Zombieland).

“Inspired by true events” should always be interpreted as a disclaimer that the movie will play fast and loose with history and the details of the story. Sean Penn plays Mickey Cohen, a renowned Los Angeles gangster from the late 40’s. Due to widespread police corruption, Police Chief Parker (Nick Nolte) authorized an “off the books” team to take down mob operations (gambling, prostitution, etc). This much was gangster4documented in Paul Lieberman’s book. How this story is presented by Fleisher and screenwriter Will Beall (signed on for the Justice League movie) has more in common with a comic book than actual history.

The movie is extremely beautiful to look at. It’s slick and stylish with a glamorous color palette, and the production design is top notch – capturing the look and feel of a booming Los Angeles. If you are expecting the next L.A. Confidential or even The Untouchables, you will be disappointed. It’s more in line with Dick Tracy, Scarface, and Hoffa. In other words … it looks great and the action, characters and dialogue are all way over the top!

gangster3 The cast is superb, but most are underutilized. Josh Brolin is the tough leader of the squad that features Ryan Gosling (the token cool womanizer), Robert Patrick (the token dead-eye gunslinger), Anthony Mackie (the innercity, knife-wielding token black cop), Giovanni Ribisi (the token geeky electronics expert), and Michael Pena (the rookie and token Hispanic cop). Unfortunately, my crude descriptions are just about as in-depth as the movie goes with any of them. In fact, Yvette Tucker playing Carmen Miranda, gets almost as much screen time as any of these cops as she sings “Chica Chica Boom Chic”.

The violence is cartoonish in its fervor. The aim of these gangsters is among the worst in movie history, and that’s quite an accomplishment. Using Tommy Guns and pistols, my estimate is that one in every 167 shots actually hits an intended target. Many elaborate set pieces are destroyed in the process. The exception is Robert Patrick’s character, who is actually featured in a detective serial. He never misses … even after being wounded. Penn plays Cohen as a ruthless mob boss, unwilling to accept any failure from his crew. And you know what that means. No pink slips here … just ugly death via power drill, burning elevator or classic car tug-of-war.

An interesting note is the presence of three actors from recent cult TV shows. Holt McCallany (Lights Out), Mireille Enos (The Killing) and Troy Garity (Boss) all have key roles in the film, as does Jon Polito, whose face gangster2and voice make him a must-cast in any gangster film.

If you are able to turn off the logical and reasoning part of your brain … just sit back and enjoy Emma Stone smoking a cig while wearing a red evening gown, an understated Ryan Gosling with an odd speech pattern, Sean Penn wearing a prosthetic nose and spewing hilarious bad guy lines, and the creepy feeling that Josh Brolin is just 25 years away from looking and sounding exactly like Nick Nolte … then hopefully you can take this one for what it is – a guilty pleasure.

**NOTE: the closing credits are a work of art … a tribute to the classic postcards from early Los Angeles

SEE THIS MOVIE IF: you’re up for a rollicking good time … bullets flying, tongue firmly planted in cheek

SKIP THIS MOVIE IF: you expect historical accuracy and pure drama in your gangster flicks

watch the trailer:

http://www.youtube.com/watch?v=bRVvEHk7xOs

 

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Posted by David Ferguson